Assignment of Literary Criticism

Submitted To : Sir Salman

Submitted By : Maryam

Topic : “Aristotle : Concept of the Ideal Tragic Hero”

Class : M.A English

Roll Number : 1705003

 Aristotle
Concept of the Ideal Tragic Hero

Definition of Tragic Hero

“An ideal tragic hero is an intermediate sort of person whose misfortune is brought about not
by vice or depravity but by some error of judgment or Hamartia”.

The Main Features of the Tragic Character

1.Goodness
It is essential to Aristotle’s theory because it is the very foundation for the basic sympathy in
the reader or audience , without which tragic emtions cannot be evoked, or the tragic pleasure
conveyed. A character is assumed ‘good’ if his words and actions reveal a good purpose behind
them. This is irrespective of the class to which he belongs. Aristotle held woman to be inferior
(and classified them with slaves), but even women, if introduced in tragedy, should be shown to
have some good in them. Sympathy is necessary as it is the very basis of the whole tragic
pleasure. He says that he would not allow for “depravity of character” when it is not necessary
and no use is made of it.

2.Appropriateness
Critics take it to mean true to type. Aristotle meant is that the characters should be true to their
particular age, profession, class, sex, or status.’ But they are individuals at the same time, for
they are ‘men in action’ as represented in tragedy. Each character should be given a character
appropriate to his ‘status’ or situation.

3.Likeness
The character must be true to life. We can identify ourselves with the characters. If we don’t
see the characters as we see ourselves, the tragic emotions of pity and fear become irrelevant.
Thus the tragic character has to be a normal person or of an intermediate sort. Only then he
will be convincing.

4.Consistency
The character must be seen as a whole, and consistent to what he is presented as from
beginning to end. There is to be uniformity in behaviour unless there ia a proper motivation
for any deviation. Any development in character has to take place according to intelligible
principles, i.e., logically.

An Ideal Tragic Hero

1.The Perfectly Good : Not fit for a Tragic Hero

Aristotle’s concept of the effect of tragedy is that is arouses pity and fear in the spectator. But a
perfectly good man, if he suffers the fall from prosperity to misery, will not arouse pity or fear;
he would simply shock the spectator’s sense of justice.

A perfect person would be one who had his desires under control, and whose intellect is able to
from the right calculations and the right practical inferences, so that he would formulate to
himself ends more immediately within his power. A blameless, virtuous character cannot be
dramatically effective.

2.The Thoroughly Depraved Character : Not Suited for Tragedy

The completely bad man falling from prosperity to adversity, says Aristotle, would merely
satisfy our sense of justice. There would be no pity or fear.

Nor can we tolerate the idea of bad man rising from adversity to prosperity. This would be
entirely alien to tragedy, says Aristotle. This is quite acceptable. It would indeed offend our
sense of justice. Even the aesthetic effect would be on one tinged with disquiet.

3.The Tragic Hero : An Intermediate Sort of Person

The tragic hero “must be an intermediate sort of person, a man not pre-eminently virtuous and
just, whose misfortune, however, is brought on him not be vice or depravity but by some error
or judgement, or Hamartia.”

4.‘Hamartia’ : Not A Moral Falling but an Error of Judgement

Hamartia is not a moral failing, as the term, tragic flaw implies. Aristotle makes it clear that
Hamartia is some error of judgement – that the fall of the hero comes about not because of
some depravity, but from some error on his part.

5. Hamartia can Arise in Three Ways

1. Firstly, it may be derived from an ignorance of some material fact or circumstance.

2. Secondly, the error of judgement may arise from a hasty or careless view of a given situation.
The case is illustrated by Othello.

3. Thirdly, the error may be voluntary , though not deliberate. This happens in an act of anger
or passion. Lear commits such an error when he banishes Cordelia.

In the case of Oedipus all three errors are included.

6.The Eminence of the Tragic Hero : Not Relevant in the Modern Context
Greek drama had for its heroes men of eminence and nobility. They had a position on
exaltation in society. Modern tragedy has shown that tragedy is possible all its effectiveness
even when the hero is ordinary and commonplace.

Conclusion
Aristotle’s concept of tragic hero is not unacceptable though in some ways he had a limited
vision.